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Supermarket Symphony

Description: In every day of his life, a man is surrounded by innumerable sounds that attract his attention more or less. Often he does not notice them, either because they are repeated frequently and tiringly, or because these sound structures do not mean that they are provided with aesthetic components. "Supermarket Symphony" represents the stylized reconstruction of a one-day sound environment fragment. It is a soundscape that takes the form of a non-mandatory tracking of musical numbers, a form often seen in television programs. The purpose of this sound project is an investigation of the criteria that may be useful in defining the idea of beauty and artistic creativity and also represents an attempt to revive the old idea of aestheticizing reality.
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Date: 1988
Creator: Jovanović, Vladimir, 1956-
Partner: UNT Music Library

Busk

Description: Busk was commissioned by BRMB Radio as a celebration of Birmingham, and the piece attempts to achieve this using recordings of buskers along with other environmental sounds which we recorded in the city. Rather than direct the listener to recognition of the music we recorded, our interest lay in the possibilities offered in the transformation of these sounds. Whilst such material might easily suggest a narrative or other extra-musical meaning, we didn't aim to explore this. The "journey" which the listener takes, then, is a surreal one as images melt, distort, change colour or become sharply focused. The original recorded music becomes part of a bigger musical discourse and never appears as musical quotation, since even the most familiar sound is transformed in ways which lead the ear to concentrate on shapes and gestures derived from, but often unnoticeable in the original. Composed in 1988, Busk won a prize at the Bourges Festival of Electroacoustic Music and a Special Mention in the Prix Italia.
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Date: 1988
Creator: MacDonald, Alistair, 1962- & Virgo, Nicholas, 1960-
Partner: UNT Music Library

Sacrifice

Description: Sacrifice is about self-sacrifice and is a statement about the two years in my life up to completion of the piece (in January 1989). It reflects the struggle between demands in my personal life and that of my composing, including the numerous emotions that accompany such a conflict. This is an introspective piece/subject, therefore I did not want to blatantly impose my multitude of emotions on the listener. Out of this desire came the idea of using noise as a source and using filtering to control the shape of various musical lines. Noise is neutral, which allows the listener a certain amount of internal freedom. The simplicity of the piece also allows this kind of space for exploration. The middle of the piece represents a moment of clarity - the moment in which this piece was conceived. The piece is for tape and celletto (electric cello). The recording is of a live performance with Chris Chafe on celletto.
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Date: 1988
Creator: Malouf, Frederick L.
Partner: UNT Music Library

Allegory

Description: Allegory (11’52”; 1987) is my second composition in the medium of computer music. It was created at the Brooklyn College Center for Computer Music on a Sun 3/160 computer, using the Csound synthesis program and Fromp, a music composition program developed by the composer that generates musical fractal structures. All of the sounds heard in this piece, pitched or otherwise, result from a filtering of white noise. The idea behind Allegory takes its inspiration from the music of the duduk, an ancient Armenian double reed instrument of a particularly haunting and beautiful quality. Often in duduk music, there are two players. One plays the melody while the other, through circular breathing, plays a continuous drone on a single pitch. The melody emerges from this drone, plays beautifully and all-too-briefly, only to return inevitably to the drone. In Allegory there is an ever-present drone composed of thirteen frequencies that are the source material for the entire piece. A fractal texture based on these frequencies emerges from the drone and grows to prominence, only to undergo a transformation: certain elements of the fractal die away while those which remain align themselves and synergize into a new quality, the sensation of a single timbre. This timbre, a gong-like tone comprised of the original thirteen frequencies, then dissolves back into its unchanging source, the drone. The extremes of the initial fractal and the ending timbre – diversity and unity – are the representatives of chaos and order, often a primal duality in my work. The movement toward order and integration is intended to suggest the possibility of such transformation in one’s life. Allegory has been programmed for various concerts, mostly in the United States, and most notably in Binary Convergence (MIT Concert Series, 1988) which featured works by Mario Davidovsky, Jonathan Harvey, and Morton ...
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Date: 1988
Creator: Arzouman, David, 1955-
Partner: UNT Music Library

The Griffith Observer

Description: Upon heels of the introductory resonant gestures, the Griffith Observer proceeds to explore a granular network of sound. Following a brief retreat, the observer steps into a dense space, highly kinetic in the actions of its minute components. The Observer soon climbs to an aural plateau from which the opportunity is taken to reflect upon its accomplishment. A strange, new atmosphere soon forms around the Observer, agitating the prior calm space with wide sonic clusters. After a grand shift in pitch, a settling of mood soothes the Observer as it is guided through the passage of a more gentle space. The Griffith Observer, upon discovering a path fluid in timbre, finally diffuses into the very space initially attracted its attentions.
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Date: 1988
Creator: Freedman, Elliot, 1967-
Partner: UNT Music Library

Harpsi-kord

Description: This piece is a search for and resolution of dialectical opposites; compositionally, it swings between the poles: order/chaos, loud/sift, atonal/harmonic, use of timbre from an ancient instrument/electronically generated. The middle ground is sought for by transformations sometimes possible only through new techniques: the results of harpsichord instrument exploration were in turn sampled and electronically worked. Sometimes techniques were turned on themselves; having sampled a tone cluster, it was available on each note of a keyboard. Clusters of clusters were made. Similarly, rhythmic or melodic structures were nested in several layers at times. These results were obtained by feeding an output back into the input of a given process. The harpsichordist relates to the tape in a quasi-improvisational manner. Although the timing and pitch material is exactly notated, he/she is given considerable latitude in performance. For example, the pitches are notated in a square, with the rhythm and ordering "randomly" improvised. In this way another "feedback loop" is created; the improvisor must use his/her ears and think fast in order to create a proper dialogue with the tape.
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Date: 1988
Creator: Little, David T., 1978-
Partner: UNT Music Library

The Headless Horseman

Description: Oscar is a computer program and a simulation of a living musician. It is designed explicitly to interact with a human musician. Oscar is both social and egocentric. Its aim is to express concern with its human fellow performer while at the same time wishing to put forward an individual musical character. This means that although Oscar is receptive towards its human partner, it may behave in ways that are quite unpredictable. My ongoing musical relationship with Oscar aims to set up musical dialogues where both man and machine share responsibilities. The scope of these musical conversations is determined and guided by the personality of both the system and the human performer. The actual performance features basic ideas and real-time decision making that emerge from mutual interpretation of abstract messages sent back and forth between man and machine. The idea is that both interact and try to produce exciting music in a common effort. Most recently, I have tried to set up a framework where both man and machine may behave at equal of autonomy.
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Date: 1988
Creator: Beyls, P. (Peter), 1950-
Partner: UNT Music Library

Dit à Dit, Pas à Pas

Description: It is a work in two very different parts, with a principle of unifying symmetry. In the first part "Dit à dit", for which the computer was used as a recording tape recorder in real time, the separated elements are combined to form a symmetrical chord (vertical symmetry). In the second part "Pas à pas" in which the data is entered into the computer step by step, the clusters become horizontal so as to form chromatic series. These series are gradually interrupted by symmetrical lateral displacement (horizontal symmetry).
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Date: 1988
Creator: Nuix, Jep, 1955-1998
Partner: UNT Music Library

Spiral

Description: This work involves contrast; the design is primarily articulated by the treatment of ambiguous, complex, and evolving musical motion. The sense of motion in this piece might be aptly described as the result of an ever-increasing energy state. Like a cold heavy liquid, the beginning music flows, but its motion is deliberate, always on the edge of stillness. Attention is drawn away from elements of progression to focus on the changing colors and minutely shifting surface patterns. This gradually gives way to a more heated, active confluence. The progression is from the deliberate beginning, into off-balance, slow motion dance music, through oscillating, vibrating activity, to kinetic, driving music which breaks through to a floating, free state. The title could be interpreted as a representation of this ever-increasing flow-music that always seems to rise and turn in a complex balance which eventually produces a clear pattern of increase. Along with the exploration of varying states of motion this piece is also concerned with an interplay along the continuum from clearly pitched sounds to highly complex, noisy sounds. The piano is primarily responsible for the clearly pitched end of the spectrum while the percussion explores the noisier domain. The synthesizer's role is to moderate between the two, allowing each to broaden its respective identity.
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Date: 1988
Creator: Kleinsasser, William, 1961-
Partner: UNT Music Library

The Stone Circle

Description: The Stone Circle uses a wide variety of sound materials from real sound recordings, electronic syntheses, or combinations of both. We cover a wide range from simple to complex, real to artificial. The juxtapositions and contrasts made among this diversity constitute the main source of the movement of the work. Much of the main material was derived from records of two large concrete slabs, whose somewhat hollow resonances were separated by a tone. These resonances, among others - whether natural, underlined or electronically tuned - give rise to simple height structures. In particular, emerging from contrasting contexts, two fully electronic progressions, one of which is a simple transposition of the other, articulate directions and gradations of movement or rest. The piece was composed in 1988 at the Electroacoustic Music Studio of the University of Birmingham.
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Date: 1988
Creator: Hunter, Adrian, 1964-
Partner: UNT Music Library

Miracuelo

Description: Recording of Ryszard Szeremeta's Miracuelo.
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Date: 1988
Creator: Szeremeta, Ryszard 1952-
Partner: UNT Music Library

Etude Musicale No. 2

Description: It is an electroacoustic study for many composed of concrete sounds. The work presented is a search for a relationship between soft sounds and crystalline and metallic sounds.
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Date: 1988
Creator: Gaffet, Jacques, 1961-
Partner: UNT Music Library

Rota

Description: "Rota" [Rotation] was composed for solo instrument and an accompaniment of electroacoustic sounds with the help of the computer program "CCOMP" (Computer COMPosition) which is specified for composition of instrumental and vocal pieces. The basic composition principle of the program is the use of pseudorandom numbers within defined limits. They are intended to simulate random processes typical for the activity of nature and the human brain. The result is a specific and self-contained composition style.
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Date: 1988
Creator: Růžička, Rudolf, 1941-
Partner: UNT Music Library

Lux

Description: Music, the driving force of the overall work, is also in the foreground. Its rhythms, its temporal propulsion, its dynamism, its plurality of reading propositions, schemas of values, are imprinted on the multimedia set, thus linking from inside all the dimensions of this generalized polyphony. "Lux": light-object of knowledge, primitive light, mythical light, destructive light / Religious experience on the aesthetic and symbolic representations of the bomb TRIMITE, coded name of the first atomic bomb / Antinomy of the pure reason / Imaginary of living crystals their existence on the fringes of men. The entities stemming from their geometrical dreams, appearances of incomplete humans, are as indifferent to them as the destiny of a particular CO2 molecule to the man who exhales it while breathing. "Lux": Reverie of the techno-nuclear era jointly conducted under a double entry. That of the art on-human (or the contemporary technological aspect), that of Dionysian art (or the infra-human aspects of a return to instinctual sources, sensations, impressions, emotions).
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Date: 1988?
Creator: Deschênes, Marcelle, 1939-
Partner: UNT Music Library

Trance

Description: "Trance" is a piece, which intends to describe a subjective interpretation of a medium person in trance.
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Date: 1988
Creator: Tripputi, Claudio
Partner: UNT Music Library

Mécanique de la Foudre

Description: A parterre of joy the pretty space trapeze. Mechanics of Lightning Febrile ions exploding the thunderbolt, the storm heard but misunderstood answers its sound. Stun! Splash of silences. Water itself carries within us who transport it, who season it with our multiple moods; well. A perfect liquid by listening to our cycle in condensation and in flow of attractions. Waterstone, from my heart a stroke of frost. The work is dedicated to Francis Dhomont. Pierre Bouchard: "Wedge the time between my teeth. Concide with the present. I like the sound ecology, the phonic reserves. In the mesh of training, too. Lead the noise in concerted moments ... That's it!”
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Date: 1988
Creator: Bouchard, Pierre, 1958-
Partner: UNT Music Library

In Lieu of Marbles

Description: Issuing form the structure of the piece it is suitable both for pre-acoustic and electronic setting. The Musical theme is formed by a three-attack section. The first part is a sort of presentation of the intellectual and structural message of the composition. The thematic core of the material of the whole composition is sounded in this introduction. Rhythm and melody are dramatically simple, and the counterpoints are still contrasted with each other at this place. Everything that follow is nothing but varieties further development: picking out and awe drawing of certain elements or a new way of combining of more elements -metric variation and that of character and meaning just as well.
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Date: 1988
Creator: Pintér, Gyula, 1954-
Partner: UNT Music Library

Fall

Description: An electroacoustic time that connects three types of sound events. By imitation and complement, by the quality of the gesture started, too. Fall is an electroacoustic band work for a choreography by Lee Ann Smith. When presented with the choreographic duet, the work participates as the third character provoking the dancers and reacting to their play. In concert, the piece offers a temporal dimension and a space where the sound and sensual imaginations - listening - play with and against this projected presence. The basic sound material combines friction materials: sounds of moving objects and air. A work of transformation of some of these fabrics - especially the supported sets - constituted a repertoire of shades of timbres, which was placed throughout the room, in superimposed layers. The punctual gestures were used to construct the articulations of the different times of the work - where the dynamics of the dance or the image is activated, suggests where is transformed. In addition, series of gestures and textures were created by synthesis. They are used in ways similar to friction material: to color certain moments in the background and produce the actions in the foreground. Fall, which was produced at the Electroacoustic Studio of Concordia University in April 1988, is a revised and expanded version of Influences (1986), a work produced for a first version of Lee Ann Smith's choreography. The choreographic version of Fall was premiered at the University of Moncton Art Gallery on April 29, 1988 and the concert version at Concordia University on February 24, 1989.
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Date: 1988
Creator: Denis, Jean-François, 1960-
Partner: UNT Music Library

Espace trouvé

Description: Birds, at random, create their landscape This is a complex sound object found (in the manner of Duchamp) in a privileged sound space.
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Date: 1988
Creator: Berenguer, José Manuel
Partner: UNT Music Library

Luz de Invierno

Description: In "Luz de Invierno" I consider the additional resources to the interpretation (the cello processing and the pre-recorded material) as an extension of the instrument in more than one sense, since the sounds that the track contains, were originated in the cello itself, to then be transformed in the laboratory through various procedures, until a true extension of both the record and the timbre of the instrument itself. The interpretation also proposes alternatives, by using contemporary instrumental techniques that discover the unsuspected and vast potential of the cello, enriching its color palette. "Luz de Invierno" is a stimulating exploration exercise whose results are naturally integrated into the musical discourse, which provides the listener with an approach to new sound universes.
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Date: 1988
Creator: Russek, Antonio, 1954-
Partner: UNT Music Library

The Acoustic Painter

Description: Like colours, the sounds are composed using a keybord like brush and time like canvas. The work has two parts: first the painter freely paints an abstract subject and second he compose a defined subject. This work was originally composed for voices, bassoon and tape but this is the unique realization. The sounds were generated using additive, frequency modulation, ring modulation synthesis and sampling.
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Date: 1988
Creator: Pedrazzi, Marco, 1959-
Partner: UNT Music Library

Paysages Intérieurs

Description: It's silence ... You are alone with yourself, imponderable entities suddenly appear to your mind. Unspoken things, hidden by the mind, emerging in the hesitation of a whisper. This murmur that touches the conscience and leaves it already veiled with a bitter worry. The mysteries of our mind are fratricidal debates, old and nourished by our whole existence. Some are revealed to the conscience to prolong only their dull struggle but none of them resolves. Here there are intimate landscapes with condemned horizons, delicate and febrile atmospheres, landscapes composed of sinuous shadows, trembling even among the few fleeting gleams. Their troubling aspect lies in what they can reveal, in the tension they contain.
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Date: 1988
Creator: Roy, Stéphane
Partner: UNT Music Library

Rituals

Description: Rituals explores the role of ritual as tradition and in everyday life. As the piece progresses motifs change as they are passed from one percussionist to another. On one level, rituals represent strict control in our lives, much as tempo and downbeat control a musical performance, yet if they are to survive, rituals (ie musical motifs) must remain flexible enough to change as the need arises. While the overall form of the work has been determined by the composer, many of the details of the music have been realized using a computer program, written by the composer, which applies algorithmic processes to musical parameters such as pitch, duration, sound location and choice of timbre. All algorithms have been constructed by the composer to create a sense of development within a framework of repetition.
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Date: 1988
Creator: Mahin, Bruce P.
Partner: UNT Music Library